Interviews

Flemming Rasmussen : Riding the Sweet Silence

The engineer/producer behind the sound of the '80s Metallica albums is Flemming Rasmussen and his Sweet Silence Studios, located in Copenhagen, Denmark. These early Metallica records, Ride the Lightning, Master of Puppets, ...And Justice for All, brought a whole new light to the sound of what would become heavy metal and thrash.  

Flemming began building Sweet Silence Studios in 1976, in 1980 he became co-owner, and in March 1999 he took over the studio altogether. He began his career as an in-house engineer and soon became known for his sound, as well as his ability to work with all kinds of music, from jazz, folk, and pop to hardcore metal. Everybody who worked with him experienced the feeling of being in “safe hands.” He produced his first album in 1982, working mainly with Danish bands like Sort Sol, but also with international artists, such as Rainbow, Morbid Angel, and Blind Guardian, picking up a Danish Grammy award for Producer of the Year along the way. He prefers to record drums, bass, and guitars on analog tape, using as much vintage gear as possible, then transferring to Pro Tools to do edits, overdubs, and mixdowns. Flemming’s trademark as a producer is that he always works very closely with the musicians, trying to get everything done from their perspectives. Many groups even describe him as their hidden bandmember.

Were there any particular bands or songs at the time that influenced your Metallica productions?

I grew up with an older brother who started listening to the Rolling Stones when they released their first album in 1963. So, my influence is almost any rock band from the mid-1960s and on. But at the time I did the Metallica albums, my favorites were, amongst others, Deep Purple, Thin Lizzy, Led Zeppelin, and Queen. I had never heard trash metal before, but I love aggressive music with a “tuff” sound.

How did the process go? Were the guitar parts written in the studio or already laid out?

Metallica, in that period, made demos. All the songs were composed, arranged, and recorded on a very good demo. We only changed parts slightly on some of the songs.

What microphones were used to record the guitar parts? 

All three albums were recorded analog on 24-track tape machines using Ampex 456 tape. On the first two albums, all mics went through my Trident A Range console. In those days, we used the mic preamps in the console – very few people had external mic pres. On all of the albums, the main mics are the Shure SM7 and Neumann U 87; close-mic'd and pointing to the center of one of the speaker cones. Most guitars were recorded using two cabinets. Then, at an angle of 45 degrees from the corner of the cab and three to six feet away, I used AKG gold The Tube mics; one on each cabinet. For room mics I used Brüel & Kjær [now Danish Audio Design] 4006 omnis, approximately 10 to 15 feet away. On the first two albums, all EQs were the A Range. On …Justice… I used an old 1073-style Neve desk and had a B&B audio EQ inserted on the [effects] loop of the amp! That way, I could tweak the sound of the amp from the control room.

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